A Virtual Guided Tour of Vienna, Part 17, The Mölker Bastei IV: Beethoven

Letter to Baron Bethell #26

Letters from Vienna #206

A virtual guided tour of Vienna, Part 17, The Mölker Bastei IV: Beethoven

Letter to Baron Bethell #26

Dear James,

It’s no accident that multitudes of tourists huff and puff up the cold, steep, stone stairs to the fourth floor of Mölker Bastei’s Pasqualatihaus. This is where one of the many Beethoven museums is to be found:

“Ludwig van Beethoven (1770 – 1827) lived with interruptions for a total of eight years in the house of his patron Johann Baptist Freiherr von Pasqualati on the Mölkerbastei. The first major work that the composer composed here was the opera “Leonore”, which was later renamed “Fidelio” against Beethoven’s wishes. The 5th and 6th symphonies, which Beethoven worked on during his summer stays in Baden and Heiligenstadt, were also worked out here. The small but well-known piano work “Für Elise” was written here later. The later stays also included the composition of the string quartet op. 95, the piano trio op. 97, the 7th and 8th symphony and the violin sonata op. 96.”[1]

This is also where Beethoven undoubtedly wrote at least parts of his diary, which included curious passages such as:

„Ergebenheit, innigste Ergebenheit in dein Schicksal, nur diese kann dir die Opfer – zu dem Dienstgeschäft geben – o harter Kampf! Alles anwenden, was noch zu thun ist, um das Nötige zu der weiten Reise zu entwerfen – alles musst du – finden, was dein seligster Wunsch gewährt, so musst du es doch abtrotzen ­– absolut die stette Gesinnung beobachten. Du darfst nicht Mensch sein, für dich nicht, nur für andre; für dich gibst kein Glück mehr als in dir selbst in deiner Kunst – o Gott! Gib mir Kraft, mich zu besiegen, mich darf ja nichts an das Leben fesseln…“ (1812)[2]

“Devotion, deepest devotion to your fate, only this can give you the sacrifices – for the duties – oh hard struggle! Apply everything for what’s still to be done, draw up a plan for the long journey – everything you must – find that your blissful wish grants, so you must wrest it – absolutely observe the steady mind. You must not be human, not for yourself, only for others; your only happiness is in yourself, in your art – oh God! Give me the strength to conquer myself, nothing should tie me to life...” (1812)

On the 13th of May 1813 he wrote:

„Das Beste an dein Übel nicht zu denken, ist Beschäftigung – Seht, so ist der Mensch, denn einer ist gefallen, mag der andre weinen; aber nicht zu richten sich erkühnen.“[3]

“The best way not to think of one’s evil is occupation ­– See, such is man, for one has fallen, the other may weep; but do not dare to judge.“

Other, equally curious entries followed:

„Gegen alle Menschen äußerlich nie die Verachtung merken lassen, die sie verdienen, denn man kann nicht wissen, wo man sie braucht…“[4]

“Never openly show the contempt toward all the people who deserve it, because you can’t know when or where you might need them...”

Beethoven’s malevolence and tendency to manipulate others, as well his pride and habits of deceit undoubtedly are the qualities which qualified him to become a member of the Illuminati:

“Throughout his life, Beethoven was influenced by the fraternal ideal of the Order of the Illuminati, which believed in fighting the abuses of State power, the abuses of religion, and superstition. In trying to awaken and enliven the human soul with his music, Beethoven produced such great works as his Ode to Joy, which is an almost universally known piece of classical music, and his 5th symphony, the opening of which is one of the most recognized chords in the entire world of music. Beethoven's legacy is a rich thread disseminating light into the ears of humanity.”[5]

“During Beethoven’s years in Bonn, he met with members of the Illuminati, notably Count Waldstein. This was a time when “free-thinking” was popular and Bonn was a “university city” where many ideas circulated during the years leading up to the French Revolution. Beethoven at this time was growing more fond of literature and began reading more. He searched through world literature, mythology, art, philosophy, and religion. His readings in Kant, Homer, Schiller, Herder, the ancient classical writers, the modern Romantics, and in Masonic and Brahman texts widened his range of wisdom. In 1784, the Bonn Illuminati dissolved in fear of prohibition, but re-established in 1787 under a different name, “friends of literature”. (Strahan, Beethoven: The Illuminati)”

“Beethoven took a liking for the reformist Emperor Joseph II, who provided the first embodiment of the ‘hero’ in Beethoven’s music, in 1790, in the “Cantata on the Death of Joseph II”. These early works were apparently directly paid for by the Illuminati. This Cantata was not performed during Beethoven’s lifetime and the score was lost until 1884, which was in the possession of the composer Hummel, who apparently bought it at an auction in 1813.”

“During the Enlightenment era, it was new that art reflect a form of revolutionary politics, and Beethoven took this to another level. Most people were arrested or imprisoned for being less outspoken. Music and art were considered weapons against tyranny. “Secret police were present in the audience of the premier of Beethoven’s Ninth Symphony to ensure that no treason was sung. It was, but they didn’t notice.” (Solomon, Late Beethoven)”

“A question still remains if the Lichnowsky family which lodged Beethoven for the first two years of his stay in Vienna in 1794, were members of the Illuminati. Their relationship transcended that of what a typical artist and patron relationship were, especially pertaining to his love affair with Princess Lichnoswky. It is likely that the relations Beethoven made in Bonn were critical to his financial support throughout his life in Vienna while influencing many of his works.”

“The words of some vocal works, including the opera “Fidelio” and the Ninth Symphony, explicitly reflect the influence of Enlightenment thought, and even directly quote from the early Illuminati-sponsored Cantata. Beethoven also supplemented his income working with aristocrats by doing deals with publishers and accepting paid commissions, but some facts remain unknown about how well he was financially backed by other sources. (Strahn, The Illuminati)”

“Beethoven was well aware he would not have sufficient time to complete his creative endeavors, and it is documented through his letters that he begged of such a scenario where he could be paid just to be himself and write music – a dream most any musician would fancy. He tried to design his life around being creative and in which he could flourish. His intent was to eliminate whatever he perceived to be superfluous and trivial, and some may say this is why he never married. In 1824 he wrote, “Only in my divine art do I find the support which enables me to sacrifice the best part of my life to the heavenly muses.” (Solomon, Late Beethoven)”

“Some of his sacrifices and turmoils even brought him to live in quasi-monastic solitude, away from the city.”

“There are many indications that Beethoven was influenced greatly by the ideas of Speculative Freemasonry and other religious-like doctrines associated with world religions, which also include esoteric ritual practices of the religions of the East and the Antique. Some refer Beethoven to as the mysterious and exotic religions around the world that were vastly described in the literature of the Freemasons and other advanced fraternal societies and groups like the Egyptian-Saitic-Osirian, Orphic-Eleusinian, Cabiric Dionysian, as well as Deistic views that describe higher states of being and the supernatural. His diaries reflect signs of his struggle to connect with God by creating his laborious works that aim to strive for righteousness.”

“He creates important aspects of the Romanticist view of the world; in his person, he exemplifies the survival of the Illuminist moral-political ideal, disconnected from its historical context, and long after the suppression and fragmentation of the Order that had given rise to it. In the aftermath of the Enlightenment, he became an active agent in the configuration of a deeply individual, and utterly vital, world outlook. (Solomon, Beethoven: The Illuminati)”[6]

The problem is that for many, such as Prince Esterhazy, Beethoven’s music, his incipient Romanticism, was the onset of a barbarity that has lead, ultimately, to Auschwitz and the ongoing Genocide by Jab.

Interestingly enough culture remains the plaything of the Deep State, as has been shown in the CIA’s sponsorship of art and the creation of pop music and “counter culture”.

Best,

Michael

---

[1] https://www.wienmuseum.at/de/standorte/beethoven-pasqualatihaus

[2] p.39 Beethoven Tagebuch

[3] pp.41-43 Ibid

[4] p.53 Ibid

[5] https://www.universalfreemasonry.org/en/famous-freemasons/ludwig-van-beethoven

[6] https://jasonpfaff23.medium.com/the-mysterious-side-of-beethoven-110573b5bb45